A basic guide to reed making By Joseph Shalita
This is a FREE demo version of the original book. The introduction, table of contents, and first chapter are intact. Please feel free to pass it along to anyone you would like. If you are interested in obtaining a complete copy of this book, Click Here. Thank you, Joseph Shalita The author and publisher of this ebook have used their best efforts in preparing this program. The author and publisher make no representation or warranties with respect to accuracy, applicability, fitness, or completeness of the contents of this program. The author and publisher do not warrant the performance, effectiveness, or applicability of any sites listed in this book. All links are for information purposes and are not warranted for content, accuracy, or any other implied or explicit purpose. All images are copy written and property of Making Oboe Reeds. Contact info Joseph R. Shalita www.makingoboereeds.com webmaster@makingoboereeds.com help@makingoboereeds.com
I would like to thank the following people who have helped tremendously with this book My wife Yamel, who put up with me My kids René and Andy who also put up with me. My friend Cathy Barrow who helped me with the editing, and who also put up with me. Mauro Hernández Gaona who did all the photography. My friend Norman Thibodeau who gave lots of support. My friend Wendy Holdaway who also gave lots of support Finally all of my students for giving me the motivation.
HOW TO USE THIS BOOK 6 ABOUT THE AUTHOR 7 INTRODUCTION. 8 CHAPTER ONE... 9 WHAT IS A GOOD REED CHAPTER TWO... 14 TOOLS CHAPTER THREE... 26 KNIFE SHARPENING CHAPTER FOUR... 32 CANE PREPARATION CHAPTER FIVE... 39 TYING THE BLANK CHAPTER SIX... 45 PARTS OF THE REED CHAPTER SEVEN... 47 OPENING THE BLANK CHAPTER EIGHT... 49 BEFORE YOU BEGIN SCRAPING CHAPTER NINE... 53 SCRAPING THE REED CHAPTER TEN... 72 FINISHING AND ADJUSTING THE REED CHAPTER ELEVEN... 84 ADJUSTMENTS TO THE SOUND
CHAPTER TWELVE... 88 CODA CHAPTER THITEEN... 93 BREATHING, BLOWING, AND SUPPORT CHAPTER FOURTEEN... 98 HIGH ALTITUDE REED MAKING CHAPTER FIFTEEN... 104 HOW TO GET OUT OF A REED SLUMP ADDITIONAL RESOURCES 107
First of all, thank you for buying this book. This is a digital ebook that needs to be read in Adobe Acrobat 6.0 in order to hear the sound clips embedded into it. If you are using another format and can reed this, Click Here to download Acrobat 6.0. It is well worth it. You can use the bookmark section on the left of the screen to navigate easily from section to section. Remember you can print out one copy. For that reason, I have kept the photographs to a minimum. You really can t tell that much from them anyway. The graphics are better for that. To hear the sound files of the reed crows, click on the text that says, Click here to listen to the crow. Actually go ahead and click above to hear one of the reed crows. This will also be a good test to see how the book works on your computer. If you have any problems, just email me by Clicking Here and I will get back to you ASAP. If the link doesn t work the email is... webmaster@makingoboereeds.com
Born in Philadelphia, Joseph Shalita started his musical studies at the age of 10 playing the clarinet. Soon afterwards he started learning the oboe, and was a member of the Philadelphia Youth orchestra, studying with Rhita Smith and Stevens Hewitt, as well as a member of the woodwind quintet program at the Settlement Music School studying with Shirley Curtis. He then received a bachelor of music studying with Joseph Turner at the Peabody Conservatory of Music in Baltimore, after which he received a Masters of Music from the Mannes College of Music studying with John Ferrillo in New York. In 1990, he came to Mexico as the Assistant Principal Oboe of the State of Mexico Symphony Orchestra where he is presently playing. He is an avid chamber musician and teacher in Mexico where he has been a member of the Mexico City Woodwind Quintet since 1993. While with the quintet, went on tour to Europe and the United States, as well as recording three compact discs, mostly of contemporary music. Mr. Shalita is on the faculty of the National Center for the Arts teaching chamber music, and the Ollin Yolitzly School of music in Mexico City as Professor of oboe and chamber music.
Why do you want to learn to make oboe reeds? There are many different answers to this question, however many people are afraid to ask because they think that leaning to make reeds is too difficult. Reed making is not a mystery. There are no secrets. With practice and dedication you can learn how to make decent, consistent reeds. My purpose in writing this book is not only to show you several different ways of making reeds, but more importantly, change the way you have thought about them in the past. If you are a student just getting started, I had you in mind when I was writing this book. Remember that no reed manual can substitute for a teacher, but I hope this e-book helps a lot. Go through the book and look at the pictures and graphics. Listen to recordings of oboists that you like. Ask to see the reeds of your oboe friends and teachers. You can learn from everyone. Remember, the best thing you can do to learn how to make oboe reeds is to make them Lots of them. In order to make decent reeds, let s first talk about what a good reed is, and what should be looked for. Then we will discuss all the tools that are needed, and finally, we ll make some reeds.
So what is a good reed? As with a lot of things this is a very subjective question. A good reed is one which responds correctly, is stable, up to pitch, and allows the oboist to do their job consistently. Notice, the word sound was not mentioned. When beginning to learn how to make reeds, the tendency is to only want to try and make good sounding reeds. Most of the time it is the only priority and we don t realize that the reed has to work properly first. Why is it a problem? Because, if the only priority is to make a good sounding reed, then the result will be a series of problems... bad attacks, unstable flat reeds etc. The best advice that can be given is don t make a reed that only sounds good. It needs to work correctly. The sound comes as a result of proper function of the reed. If there are any secrets to reed making, that is the best one. A reed that works correctly will produce a good sound as a result.
This statement may sound a bit strange at this point, but it will be explained in more detail later. What does it mean by working correctly? A good reed that works correctly is one that vibrates correctly. It will have the following characteristics: Proper response Stability Up to pitch Let s look at each one of these characteristics one-by-one. 1. Proper response. That means you can play from low B-flat all the way up to a high G with no problems. The reed will allow you to have a very clean attack in all ranges and all dynamics. The reed has to respond at your command, not when it wants to. 2. Stability A reed that is stable will allow you to slur from middle C to high C with very little or no adjustments to the lips. (Embouchure) The more the embouchure has to be manipulated to get the high C out, the more unstable the reed is. 3. Up to pitch A reed that is up to pitch means that biting the reed when playing is not necessary. The reed maintains a minimum pitch level when
playing with as open and relaxed an embouchure as possible. This minimum pitch level can be thought of as the reeds pitch floor or pitch cushion. The reed must always be up to pitch. NEVER PLAY ON FLAT REEDS! Playing on flat reeds causes some of the worst habits that oboists develop. It makes you bite to get up to pitch. That cuts the sound off, tires the embouchure, actually makes you play sharp often, ruins the oboe s tuning with itself, and the attacks. What about a good sound? Of course a good sound is very important; however it should be the last thing on the list of priorities. What is a good sound? The concept of a good sound varies from player to player. A common factor which is inherent in all good sounds is that they are complete with many harmonics. Harmonics are the natural pure sounds that are part of any musical note. The sound is round and threedimensional. Not forced, tight, or sad sounding. Many of us from the American School like to use the word Dark to describe our ideal sound. The American school is characterized by reeds that are constructed with a long scrape which was developed by Marcel Tabuteau in the early 1900 s. He was Principal Oboe of the Philadelphia Orchestra, and was one of the most influential woodwind players of the 20 th century. A reed with an ideal sound is on with a complete series of high and low harmonics. When adjusting the sound of a reed, it is better to
think of bringing out more low harmonics without cutting the high harmonics. This will help achieve that goal of a nice dark sound. While on the subject of sound, it is important to remember that the reed, embouchure, and air work together. Each affects the others, so they all must be doing their jobs properly. If the reed is flat or unresponsive, the embouchure and air are affected. The reeds that you will learn how to make will be built to vibrate a certain way. The pitch floor and stability built into the reed will allow you to open and relax your lips as well as your throat so you don t strangle the reed, and therefore the sound. The reed must vibrate, so let it! The next step in the process is to have an air stream that is fast enough (proper support). The oboe is difficult to play, but we shouldn t have to kill ourselves either and that s the end of the story... but not the end of the book, so keep on going.
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